

I use it sometimes now, when it’s my turn to bless our food before dinner and I am tired or worried or simply can’t think of anything to say. The familiar rhythm of the words comforts me, carrying with it echoes of the many people who have prayed it before me, and those who still pray it around their tables. It brings me back to those summer days at Mimi and Papaw’s, standing barefoot on the kitchen tile, hand-in-hand with the people I loved the most. Now, as I face my husband across our own dinner table, it sums up everything I want to say:
Come, Lord Jesus, be our guest, and let this food to us be blessed.
So rather than read further, which would’ve been much easier, I decided to take the ballpoint pen and lined notebook paper and draw what was right before me — and do it quickly, without proper paper or the need to prettify my work. I did opt for color because the green was so lush and bright with the afternoon sunlight shining through the leaves, so I found a couple of green markers and sat there in the sun happily coloring away, like I often did as a child. Did I capture the head of Romaine perfectly? Not at all. But did I begin to glimpse its infinite beauty, the curtain of one leaf folded inside another, the veins like tiny circuitry? I did, indeed.
Because the truth is, you and I and Eden are all incomplete. We were made for a world beyond blood work and teasing and life expectancies. We were made for perfection.
Perhaps the beauty in Eden’s face is that she knows this. She radiates joy not in spite of what is “not right” about life but because of it. Because every loss we experience points us to the time when loss will be no more. Because life itself is more right than we realize.
Each of us recites a poem. We talk about current events, and tell stories from our personal journeys. The sound of crickets is broken by the bell tolling for Compline. We realize we’ve lost track of time, so we rush Brother Paul back to the Abbey for the service.
Later, I will recall the blend of bread and wine and storytelling with prayer and the observing of silence. The rhythm of the afternoon, I think, might be a good model for the cadence of Antler’s work.